My practice is mostly concerned with painting and informed by research, framed by my lived experiences and relationships.

I like to paint ambient scenes and figures, the ideas come from my research. (I like to dig through the internet and books.) Which I do everyday. Library and outside time is very important to me in my creative process. I have always preferred a dark and rich colour palette, however I tend to add a brighter accent to most of my work. I believe that ‘you can’t have too much of a nice thing.’ And that’s how I feel about visual arts, I try to avoid indulgence when making stuff. I like the fan brush and linen, these are great for achieving the ambient, gritty feel I need.

I was born and raised in the city and this sort of atmosphere has had a profound impact on my psyche and personal philosophy. I think because of this I am drawn to ambient themes like I said. Once through a more surrealistic, subconscious, ‘far away’ lens, now I am more interested in the grey and gritty and the present. Our world has become much flatter, and what I thought once was ‘far away’ is actually all around me.

‘I am born again all the time’ and ‘Resurrection in Pollença’ were both painted during the dregs of Covid. ‘Hedgie’ was painted in the summer of 2024. I think they look great in the dark frames we had made for the show.

For ‘I am born again all the time’ and ‘Resurrection in Pollença’, when I painted these I was feeling low and lost and was reading a bit of Lacan and Jung at the time, I think that shows through by my use of symbols and motifs. I started painting not that long before these paintings and was quite self- indulgent… ‘Hedgie’ is a study I did of my ex-boyfriend in my studio on Ridley Road, the light in there is very attractive in the late afternoon.

I think beauty is truth, understanding and the willingness to learn, and it’s the same when it comes to visual arts for me. I think when this exists in the artist, we can feel it in the work and be moved.

I struggle a little to call myself an artist, I like to talk about it simply – as I came into this field after spending time working in fashion. I guess that I make things as a way to make sense of the world. In addition to ceramics, I work with the land, exploring permaculture, food forestry and sustainable agriculture – so ceramics have become one part of a broader interest in making, while trying to preserve and be inspired by the natural world.

Clay dictates most often what I’ll be making, it depends on its origin, its particularities and demands. I tend to stretch it to its maximum, see where I can push it. I take it as an exercise in observation, see how clay behaves in specific seasons, temperatures and atmospheres, to then be able to create what I had imagined at the start of the making. I also take inspiration from finding, harvesting and processing the materials themselves. When working I try to think of where the clay, glazes and other elements come from, and how that can influence what is created.

The UK’s rich history of paganism as well as its myth and folk stories has had a great influence on my work - there’s also the fact that we are living on an island of clay, which makes it interesting to dig around the country and experiment with their regional intricacies.

“The Joy’ series is based on everyday movements, to get out of one’s head and just feel whatever comes. The vessels were inspired by ‘The Carrier Bag Theory of Fiction’ by Ursula K. Le Guin where she expands on metaphorical carrier vessels of experience filled with memories of the past that we carry with us.

Existence, experience, myths, ecology, the female body (…)

Beauty is so subjective. I can’t dictate one’s taste or what beauty is when it comes to art. There’s so much to unpack here when it comes to beauty and what touches someone. It is contextual and a very personal relationship between the viewer and the piece.